Jules Moigniez

A Basset Hound

circa 1857

ink on beige sight size: 254 x 317 mm. PROVENANCE Acquired directly from the artist by Edward Laning (who inherited Marsh's studio) to Jack Henderson...

oil on canvas 46.7 x 37.2 inches (118.5 x 94.5 cm.) PROVENANCE Private Collection, Isle of Wight Two young sisters are posed on a portico backed by a rotund column with a landscape beyond. Although their identities are unknown their outfits as well as the setting denotes wealth and status. The older sister wears a gown of gold with blue and gold trim raised to reveal a green underskirt also edged with gold. Her collar tied at the neck and fastened over her shoulders by a large rosette of golden cloth, apron and cuffs over wide sleeves, are all of a sheer batiste linen trimmed with lace. Previously a child would not have been painted in a bib or apron above the age of three, but in the 1650s and 1660s it became fashionable for older girls. A leading string hangs from her right shoulder, which is also surprising given her age, but once their utility was gone, they were viewed as a decorative accessory and remained part of children’s costumes...

signed in the upper right Gio Batta Weenix oil on canvas 45 x 51 inches (114.5 x 129.5 cm.) PROVENANCE (possibly) Giovanni Baptista Weenix estate sale, Huis ter Mey, De Haar, Apr...

signed in the lower left Artz oil on canvas 26 x 19 ⅝ inches (66 x 50 cm.) PROVENANCE D. Sala & Zonen, Leiden , prior to 1936 Private Collection, Florida, circa 1968 until the present time Much like their seventeenth century counterparts, a group of painters known as the Hague School in the 1870s came to embrace as their subject matter the native Dutch landscape and the everyday lives of its rural inhabitants, most notably the fisher folk of the coastal villages. Within ten years the Hague School artists’ works would prove so popular that incredibly a mania for all things Dutch would be felt throughout the world, and would dominate the art in Holland until well after the turn of the century. By embracing simple themes remarkable for their ordinariness, the Hague School succeeded in striking a chord with a public whose own placidity was constantly being rattled by the evolving modernity of the times. Conveyed through the employment of subtle tones, hazy skies and subjects of happenstance their mix of nostalgia and realism enchanted viewers. The Hague became the center of the movement because it was semi-rural surrounded by meadows, polders, waterways, dunes and woods, and nearby Scheveningen provided a wealth of material for artists seeking to paint the shore and its fishing community. Jozef Isräels was considered the dean of the Hague School and David Adolphe Constant Artz his most important follower. Artz began his training in 1855 at the Amsterdam Academie under Louis Roijer and Johannes Egenberger, and would remain in Amsterdam until 1864. During this period, he would be influenced by August Allebé but more importantly a lifelong friendship with Jozef Israëls formed. In 1859 they traveled together to Zandvoort. He would also be the first of the Hague School artists to follow Isräels’ lead of working on the beach at Scheveningen. In 1859 Artz publically exhibited for the first time, taking part in the Tentoonstelling von Levende Meesters (Exhibition of Living Masters). In 1864 he left Amsterdam to live in Zweeloo, Drenthe for a year. From 1866 until 1874 he shared a studio with Jacob Maris and Frederick Hendrik Kaemmerer. He was one of the first of the Hague School artists to work in Paris (Jacob Maris having preceded him by one year) enabled by his patron and benefactor Johannes Kneppelhout. Artz created quite a commotion upon his arrival by including in his baggage a large collection of Scheveningen peasant costumes. As previously in Holland, Artz during his sojourn in Paris continued to paint beach scenes and interior views that featured the fishing communities of the North Sea. During this period Artz became interested in Japanese prints which had recently become available in Paris, and painted a few genre scenes of interiors with Japanese décor and subjects. While based in Paris he also traveled to Scotland from May-June 1869, Germany in November of that year, England in 1870 and Italy in January, 1872. By 1874 he returned to the Netherlands to live permanently in The Hague. Artz in his own time was held in high esteem by the public as well as his fellow artists. He was awarded gold medals at exhibitions in Munich and Vienna, as well as a Diploma and Medal of Honor in Dresden. In 1879 he was made Knight of the Oaken Crown of Luxembourg and in 1889 also became a Knight of the Order of St. Michael of Bavaria. In 1880 he received an Honorable Mention at the Salon in Paris and won a gold medal in 1883 at the International and Colonial Exhibition, Amsterdam. In Paris he was a member of the Société Nationale des Beaux Arts and a Chevalier of the Legion of Honor by 1889. He also served as Vice President of the International Jury of Award at the 1889 Exposition Universelle, Paris. In 1893 four works by Artz were chosen to be included in the World’s Columbian Exposition, Chicago. An American reviewer wrote of this show “The works of giants like Rembrandt, Van der Neer, Ruysdael, Holbein and Franz Hals are almost equaled now by masters like Israels, Mesdag, Bosboom, Maris, Mauve and Artz”. Artz’s entries A Girl Knitting, The Pet Lamb, Idle Hours on the Dunes and Girl Sleeping on the Dunes were listed under the category of “Immortal Works”. His works formed part of museum collections of Amsterdam (Rijksmuseum and Municipal Museum); Cambridge, England; Chicago; Dordrecht; Glasgow; Haarlem; The Hague (Gemeentemuseum and Mesdag Museum); Leewarden; Montreal; New York (Brooklyn and the Metropolitan Museum); Oxford; Rotterdam; St. Louis; Tulsa and Zandvoort. Much enamored with the picturesque dwellings of the rural population, a favorite subject of the Hague School was the depiction of a family group gathered around a table sharing a simple meal. Ronald de Leeuw in his introduction for The Hague School Book remarked that the group “derived poetry from a view of the kitchen”. Artz excelled at this type of interior scene in which every detail has been carefully recorded in emulation of his seventeenth century predecessors. Vincent van Gogh, an admirer of the Hague School in general and Artz in particular, wrote to his brother Theo in a letter dated Etten, Friday, August 26, 1881 about an exhibition in The Hague he had just visited in which he described a drawing by Artz of an “old man and woman eating porridge, very important, very good and serious.” There is a large version of At Grandmother’s (131.5 x 91.5 cm.) in the Rijksmuseum, Amsterdam. It was painted in 1883 and shown in an exhibition in The Hague in 1884 where it was purchased by the museum. This undoubtedly must have sparked interest in the composition and created a demand for the image to be replicated as several versions of the composition in varying sizes are recorded, and Artz was known for executing repetitions of his own works. Regarded as one of the highlights of the collection in the Philbrook Museum of Art in Tulsa, Oklahoma is another version by Artz of At Grandmother’s. The iconic nature of the image must have appealed to contemporaries as the perfect summation of the mix of idealism and realism that characterized these artists and their times. In a cottage under a wooden beamed ceiling a grandmother with her two granddaughters clothed in the traditional garb of Katwijk (where the artist spent his summers and maintained a cottage in the dunes) sit on wooden chairs around a gate-leg table in a kitchen sharing a simple meal of bread and an apple. The grandmother carefully slices a piece of bread while the younger girl looks on expectantly. Her sister sips milk from a small delftware bowl watching...

signed in the lower right Kever watercolor on paper 19 3/16 x 17 1⁄8 inches (49.2 x 43.7 cm.) PROVENANCE Dr. Katherine Kromm Merritt, Stamford, Connecticut, until circa 1990, from whom acquired by Private Collection, Vinalhaven, Maine, until 2015 In the warm morning glow of a country kitchen, a young boy entertains his little sister seated in a high chair. In return her adoring glance speaks volumes. The dramatic angling of the baby’s high chair, whose design harks back to the seventeenth century, animates the scene. Through an economy of means and a limited palette of largely brown and orange, Jacob Simon Hendrik Kever captures the richness of the moment and its idyllic rusticity. Josef Israels was the first to encourage Kever to study painting. He began his training at the Koninklijke Academie voor Beeldende Kunsten, Amsterdam, in 1869, studying with Petrus Franciscus Greive until 1872. From 1874 - 1875 he attended the Rijksakademie van Beeldende Kunsten, also in Amsterdam. From 1878-1879 under the tutelage of Charles Verlat he was enrolled in the Koninklijke Acaemie voor Schone Kunsten in Antwerp. His subjects included portraits, cityscapes, landscapes, flowers, genre and interior scenes in watercolors, oils, and etchings. Throughout his career he worked in Blaricum, Nunspeet, the province of North Brabant and Eemnes. Although not technically considered a member of the Laren School he also lived there from 1877-1879 and again in 1905-1922. He further maintained an apartment in Amsterdam near the Oosterpark where he resided during the winter months. The area must have constituted somewhat of an artist’s community as his neighbors were Geo Poggenbeek, Nicolaas Bastert and later Willem Witsen...

PROVENANCE Mortimer Brandt, until 1993 and thus by descent in the family to Private Collection, Baltimore until the present time We would like to thank Charles Beddington for ident...

This Peasant resting is a subject that is included in the famous suite commonly called "little workers" by Jules Dalou (1838-1902) Bronze with nuanced dark brown patina cast by Susse Frères - stamped with the founder's seal France created around 1890 and cast after his death height 12,5 cm A similar model reproduced inJules Dalou, le sculpteur de la République, Exhibition held at the Musée du Petit Palais, Paris, 2013, page 288, n°220. Biography : Aimé-Jules Dalou, said Jules Dalou (1838-1902) was a French sculptor, born from Protestants glovers craftsmen who raised in secularism and love of the Republic. Jules Dalou was very young talented for modeling and drawing, which earned him the attention of Jean-Baptiste Carpeaux, who made him entered in 1852 in the Little School, the future National School of Decorative Arts in Paris. In 1854, he was admitted to the School of Fine Arts in Paris, where he studied painting in the workshop of Abel de Pujol and sculpture in the workshop of Francisque Duret...

This Hay baler is a subject that is included in the famous suite commonly called "little workers" by Jules Dalou (1838-1902) Bronze with dark brown patina c...

This bearer of sheave is a subject that is included in the famous suite commonly called "little workers" by Jules Dalou (1838-1902) Bronze with dark brown patina cast by Susse Frère...

Equestrian sculpture "Roman driver on his chariot" by Emmanuel Fremiet (1824-1910) Bronze with its original nuanced dark brown patina cast by MORE France circa 1880 height 41,5 cm l...

This Peasant resting is a subject that is included in the famous suite commonly called "little workers" by Jules Dalou (1838-1902) Bronze with nuanced dark brown patina cast by Suss...

Self-portrait "Fratin by himself" by Christophe FRATIN (1801-1864) Bronze with nuanced dark brown patina Signed on the base "Fratin" Raised on a wooden base, with an old collector s...